© 2011 Ray Wong
Anything about Marilyn Monroe is bound to be fascinating since she was such a fascinating creature. But behind her fascinating public persona, there is no secret that she was a mess.
My Week with Marilyn offers a candid behind-the-scene look at one of the brightest stars in history.
Colin Clark (Eddie Redmayne) is an ambitious young man (with British pedigree) determined to make it into the film business. Through personal network and perseverance, he begins his career working for Sir Laurence Olivier's production as a third assistant director. Lucky for him, his first movie was
The Prince and the Showgirl starring Olivier (Kenneth Branagh) and Marilyn Monroe (Michelle Williams).
Colin starts to pursue a wardrobe girl, Lucy (Emma Watson) while trying to fit in at the production where everyone treats him like a naive kid. But when Marilyn shows up, Colin's world changes. At first, everyone is in awe with her, of course. But as they realize what a mess she is -- she's always late; she's insecure; she is emotionally unstable; she acts like a frightened child -- and the production is being delayed, their patience, especially Olivier's, is wearing thin.
Marilyn is on the verge of a nervous breakdown, especially after her husband Arthur Miller returns to America to see his kids. Colin's apparent lack of judgment of her impresses her, and she finds confidence in him. Meanwhile, Colin falls madly in love with the movie star. For one week, Marilyn and Colin become very close. With Colin, Marilyn is able to let her guard down and show her vulnerability without feeling scared of who she really is, and not the movie star everyone expects.
Michelle William (
Blue Valentine) is a revelation here. She's always been a good actress, having earned a few Oscar nominations in her relatively young career. But playing Marilyn Monroe, one of the most iconic personalities in the world? It's possibly one of the most challenging endeavors on Earth. And Williams has done a fantastic job capturing not only Monroe's sexuality and beauty, but also her vulnerability and insecurity and loneliness and sadness. Williams's portrayal of the star is in itself a star-making turn. I predict an Oscar nod for her again.
And that's saying a lot when Williams is surrounding by so many wonderful veteran actors playing famous actors and personalities. Julia Ormond (
The Curious Case of Benjamin Button) is regal and sad as Vivien Leigh. Kenneth Branagh (
Pirate Radio) is perfect as Sir Olivier Laurence. And Judi Dench (
J. Edgar) is marvelously kind and stately as Dame Sybil Thorndike.
The young actors are not that bad either. Eddie Redmayne (
Black Death) first impressed us in
Savage Grace, and as Colin Clark, he is ernest, lovestruck, sweet, and naive all at once. Redmayne may not be the handsomest leading man, but he has the ability to make you root for him and care. Emma Watson (
Harry Potter) has a harder time breaking away from her famous role as Hermione Gringer. She is fine in her small role as Lucy, but she'd need a much better and different role if she wants us to forget her as Hermione. Dominic Cooper (
Captain America) and Dougray Scott (
A Thousand Kisses Deep) do well as Milton Greene and Arthur Miller respectively.
Adapted from Colin Clark's own diaries, the screenplay by TV writer Adrian Hodges (
Primeval) is spotty. The beginning slogs along as he sets up the story, but it tries a little too hard to portray Colin as a fearless young man. There are many side characters that rather muddle the plot, which is progresses rather fast and furiously but really only picks up with production of
The Prince and the Showgirl begins and when Marilyn Monroe arrives.
But once it does, the story takes a fascinating turn. Monroe herself is fascinating enough. But what's going on around her is equally fascinating, especially if you're into film history and filmmaking. The tension between the Monroe and Olivier is palpable. The tension between Colin and all the other men who admire and love Marilyn is palpable. The sexual tension between Colin and Marilyn is palpable. And Colin's own confusion and vulnerability are palpable. The story, at this point, is so full of conflicts and human emotions that we just can't wait to see what happens next.
Director Simon Curtis (
Cranford), mostly known for his TV work, has given us a handsome production with great location shots. The film has a distinctive British feel, and it should, even though it's about some of Hollywood's most famous stars. While the beginning rushes a bit with too many peripheral bits (the plot would have been stronger if it had begun when Colin's already working as a 3rd), the core of the story as well as the relationship between Colin and Marilyn holds our interest. A large part is due to Monroe's personality and Michelle Williams's fascinating portrayal. But the director has given them a space to indulge in that piece of history.
The result is quite satisfying. Williams's performance manages to eclipse the veterans' (all excellent), and the film is well made. My 99 minutes with Marilyn is well worth it.
Stars: Michelle Williams, Eddie Redmayne, Julia Ormond, Kenneth Branagh, Emma Watson, Judi Dench, Dominic Cooper, Dougray Scott
Director: Simon Curtis
Writers: Adrian Hodges (based on book by Colin Clark)
Distributor: Weinstein Company
MPAA Rating: R for language, partial nudity, sexuality and drug use
Running Time: 99 minutes
Ratings:
Script - 7
Performance - 8
Direction - 8
Cinematography - 8
Music/Sound - 7
Editing - 7
Production - 8
Total - 7.8 out of 10.0
Why is J. Edgar Hoover (Leonardo DiCaprio) the "most powerful man in the world"? He will tell you: because he knows everyone's secret. Even as a youth, Edgar is driven and focused and meticulous. He has sharp observational and analytical skills, and a talent to see through people. While fighting Communists, whom he considers the true evil that could bring down America, he quickly rises up the rank and becomes Director of the FBI before he is 30 years old.
Edgar's strict and iron-fisted approach to reshape and reorganize the FBI earns him both admiration and revilement. A complicated man, Edgar relishes the spotlight while he is sensitive to criticism, and when he's hurt, he lashes out. One of his ways of getting even and protecting himself is by digging up dirt on others, including the seven presidents he has served under. While outwardly a staunch moralist, Edgar is a man of contradiction and double standards. He exaggerates his own merits while belittling others for their shortcomings.
Behind closed door, however, Edgar's personal life is full of secrets that could easily ruin his reputation and end his career. He is a mama's boy, for example -- his devotion to his mother (Judi Dench) borders on codependency. I mean, he lives with his mother until he's way into middle-age. Strange for a man with so much power. He once pursued unsuccessful Helen Gandy (Naomi Watts), who later becomes his most trusted assistant. Most important, he hires Clyde Tolson as his "right hand man" (Arnie Hammer) even though he doesn't qualify for the job. The relationship between Edgar and Clyde suggests something more than professional.
Leonardo DiCapro (Inception) has played real people many times. He plays Hoover from his teenage years to his death at 77. For over 50 years, Hoover has held on to his post even under the harshest scrutiny. DiCaprio is able to portray the complicated man even though his effort is inconsistent. Surprisingly, he is most successful when playing Hoover at his old age, under layers of prosthetics and makeup. It's then that DiCapro disappears into his character. As a younger Hoover, he seems self-conscious at times.
It's mostly a one-man show, but the supporting cast is good as well. Naomi Watts (You Will Meet a Tall Dark Stranger) is marvelous as Helen Gandy. She plays Hoover's trusted assistant and confidant with grace and heart. Judi Dench (My Week with Marilyn) also shines as Edgar's doting mother. Through her strong performance, we understand her character's influence on our protagonist. Arnie Hammer (The Social Network) is the weak link here. As young Clyde Tolson, he is handsome and charming, and we can see why Edgar is smitten with him. However, Hammer falters when he plays Tolson as an old man.
The screenplay by Dustin Lance Black (Milk) is almost episodic, alternating between past and present as the older Edgar contemplating his life while dictating his biography. The structure is rather disjointed and confusing, with multiple flashbacks but no time specified. So the audience has to deduce the plot and time line via dialogue or context. It's just too much work. The real problem with the story, however, is the lack of a real arc. It covers too much ground, and too much time, without a clear character arc. Mostly it's a "who is who" and "how things came to be" type of narrative. While it's interesting, the story lacks the dramatic oomph or a strong stake. We understand who drives J. Edgar -- his pride, his work, his personal desire and insecurity -- but none of that comes through with an urgency. Mostly, the screenplay feels flat. It's a shame since Black gave us the phenomenal, Oscar-winning screenplay of Milk.
Director Clint Eastwood (Hereafter) seems to have lost his touch as well. While the production is handsome and the period details are admirable, the pacing is off. The movie feels lethargic. I mean, this is a story of a man with great power, flair, and importance. A man who has served seven American presidents and carried on a secret homosexual affair for over 50 years. Yet his life story feels so lukewarm and flat. Much of the sentiments also feel forced. Perhaps I can't really blame Eastwood -- the flaws mostly lie in the writing. Still, I think Eastwood has made some mistakes and couldn't lift the movie from the material.
As a biopic about one of the most famous men in history, the movie falls flat, and it's not due to subpar performances or technical merits (the makeup and costumes are fantastic and should garner some Oscar nominations). J. Edgar himself would have hated it.
